For thousands of years, humanity has been told that grief is a necessary part of life, that deep sorrow over the passing of our loved ones is expected and a natural process. Brian Holmes says emphatically that, no, it is not! You can, and ought to be emotionally stable and spiritually content after the death of a loved one. People sometimes spend months or years of their lives mired in crippling grief which sidetracks them from many fruitful endeavors. Grief sabotages happy, productive lives. Sometimes people dealing with extreme grief and loss become angry, abuse drugs and alcohol, or even take their own lives. It doesn't have to be this way. Sadness when someone leaves our lives is normal. Intense grief need not be. If you Believe, grief is not for you - emotional peace and happiness is. Defeat your grief now.
A masterful combination of literary study and author biography, How Sherlock Pulled the Trick guides us through the parallel careers of two inseparable men: Sherlock Holmes and his creator, Sir Arthur Conan Doyle. Reconsidering Holmes in light of Doyle’s well-known belief in Victorian spiritualism, Brian McCuskey argues that the so-called scientific detective follows the same circular logic, along the same trail of questionable evidence, that led Doyle to the séance room. Holmes’s first case, A Study in Scarlet, was published in 1887, when natural scientists and religious apologists were hotly debating their differences in the London press. In this environment, Doyle became convinced that spiritualism, as a universal faith based on material evidence, resolved the conflict between science and religion. The character of Holmes, with his infallible logic, was Doyle’s good faith solution to the cultural conflicts of his day. Yet this solution has evolved into a new problem. Sherlock Holmes now authorizes the pseudoscience that corrupts our public sphere, defying logic, revising history, and promoting conspiracy theories. As this book demonstrates, wearing a deerstalker does not make you a mastermind—more likely, it marks you as a crackpot. Fascinating and highly readable, How Sherlock Pulled the Trick returns the iconic Holmes to his mystical origins.
The terrifyingly surreal universe of horror master H. P. Lovecraft bleeds into the logical world of Sherlock Holmes, Sir Arthur Conan Doyle’s champion of rational deduction, in these stories by twenty top horror, mystery, fantasy, and science fiction writers. Arthur Conan Doyle’s Sherlock Holmes is among the most famous literary figures of all time. For more than a hundred years, his adventures have stood as imperishable monuments to the ability of human reason to penetrate every mystery, solve every puzzle, and punish every crime. For nearly as long, the macabre tales of H. P. Lovecraft have haunted readers with their nightmarish glimpses into realms of cosmic chaos and undying evil. But what would happen if Conan Doyle’s peerless detective and his allies were to find themselves faced with mysteries whose solutions lay not only beyond the grasp of logic, but of sanity itself? In this collection of all-new, all-original tales, twenty of today’s most cutting-edge writers provide their answers to that burning question. “A Study in Emerald” by Neil Gaiman: A gruesome murder exposes a plot against the Crown, a seditious conspiracy so cunningly wrought that only one man in all London could have planned it—and only one man can hope to stop it. “A Case of Royal Blood” by Steven-Elliot Altman: Sherlock Holmes and H. G. Wells join forces to protect a princess stalked by a ghost—or perhaps something far worse than a ghost. “Art in the Blood” by Brian Stableford: One man’s horrific affliction leads Sherlock Holmes to an ancient curse that threatens to awaken the crawling chaos slumbering in the blood of all humankind. “The Curious Case of Miss Violet Stone” by Poppy Z. Brite and David Ferguson: A girl who has not eaten in more than three years teaches Holmes and Watson that sometimes the impossible cannot be eliminated. “The Horror of the Many Faces” by Tim Lebbon: Dr. Watson witnesses a maniacal murder in London—and recognizes the villain as none other than his friend, Mr. Sherlock Holmes. With thirteen other dark tales of madness, horror, and deduction, a new and terrible game is afoot: “Tiger! Tiger!” by Elizabeth Bear “The Case of the Wavy Black Dagger” by Steve Perry “The Weeping Masks” by James Lowder “The Adventure of the Antiquarian’s Niece” by Barbara Hambly “The Mystery of the Worm” by John Pelan “The Mystery of the Hanged Man’s Puzzle” by Paul Finch “The Adventure of the Arab’s Manuscript” by Michael Reaves “The Drowned Geologist” by Caitlín R. Kiernan “A Case of Insomnia” by John P. Vourlis “The Adventure of the Voorish Sign” by Richard A. Lupoff “The Adventure of Exham Priory” by F. Gwynplaine MacIntyre “Death Did Not Become Him” by David Niall Wilson and Patricia Lee Macomber “Nightmare in Wax” by Simon Clark
Is debate on issues related to faith and reason still possible when dialogue between believers and non-believers has collapsed? Taking God Seriously not only proves that it is possible, but also demonstrates that such dialogue produces fruitful results. Here, Brian Davies, a Dominican priest and leading scholar of Thomas Aquinas, and Michael Ruse, a philosopher of science and well-known non-believer, offer an extended discussion on the nature and plausibility of belief in God and Christianity. They explore key topics in the study of religion, notably the nature of faith, the place of reason in discussions about religion, proofs for the existence of God, the problem of evil, and the problem of multiple competing religious systems, as well as the core concepts of Christian belief including the Trinity and the justification of morality. Written in a jargon-free manner, avoiding the extremes of evangelical literalism and New Atheism prejudice, Taking God Seriously does not compromise integrity or shy from discussing important or difficult issues.
In the words of one reader, Brian W. Fairbanks has a real talent for extracting the essence of a given subject and articulating it in a meaningful way. In WRITINGS, the author collects some of his finest essays and criticism spanning the years 1991-2005 and covering four subjects: FILM LITERATURE MUSIC SOCIETY Whether offering an insightful analysis of film noir, examining Benjamin Franklin's impact on American society, taking a clear-eyed, non-partisan look at democrats, republicans, the 2004 presidential campaign, George W. Bush, and the war on terror, or lambasting the corruption of television news, Brian W. Fairbanks is ingenious with a sophisticated yet effortlessly readable style. Also available in two hardcover editions.
A detailed history of the American Civil War’s first campaign in Virginia in 1862. The first campaign in the Civil War in which Robert E. Lee led the Army of Northern Virginia, the Seven Days Battles were fought southeast of the Confederate capital of Richmond in the summer of 1862. Lee and his fellow officers, including “Stonewall” Jackson, James Longstreet, A. P. Hill, and D. H. Hill, pushed George B. McClellan’s Army of the Potomac from the gates of Richmond to the James River, where the Union forces reached safety. Along the way, Lee lost several opportunities to harm McClellan. The Seven Days have been the subject of numerous historical treatments, but none more detailed and engaging than Brian K. Burton’s retelling of the campaign that lifted Southern spirits, began Lee’s ascent to fame, and almost prompted European recognition of the Confederacy. “A thoroughly researched and well-written volume that will surely be the starting point for those interested in this particular campaign.” —Journal of American History “A welcome addition to scholarship that should be the standard work on its subject for some time to come.” —Journal of Military History “Plenty of good maps . . . help the reader follow the course of the campaign. . . . Burton does not neglect the role of the common soldiers . . . [and]provides thorough and reasonable analyses of the commanders on both sides.” —Georgia Historical Quarterly “A full and measured account marked by a clear narrative and an interesting strategy of alternating the testimony of generals with their grand plans and the foot soldiers who had to move, shoot, and communicate in the smokey underbrush.” —The Virginia Magazine
Classical rhetorical techniques can enhance the persuasiveness of Supreme Court opinions by making their language clear, lively, and memorable. This book focuses on three techniques—“invention” (creation of arguments), “arrangement” (organization), and “style” (word choice)—in the work of Oliver Wendell Holmes, Jr., Robert Jackson, Hugo Black, William Brennan, and Antonin Scalia, respectively. The justices featured here contributed to the Court’s rhetorical legacy in different ways, but all five rejected the magisterial opinion style of the eighteenth and nineteenth centuries in favor of a more personal and conversational format. As a result, their opinions have endured, and even modern readers who cannot recall the justices’ names understand and embrace the ideas expressed in their legal writings and apply those ideas to current debates. Practicing lawyers, professors, and students can use this book to study legal writing techniques and make their own writing more persuasive.
Brian McGilloway's command of plot and assurance of language make it difficult to believe that Borderlands is his debut' The Times 'A mystery of labyrinthine complexity'Sunday Telegraph 'Dazzling'The Guardian“/I>/font> _______________ The corpse of local teenager Angela Cashell is found on the Tyrone- Donegal border, between the North and South of Ireland, in an area known as the borderlands. Garda Inspector Benedict Devlin heads the investigation: the only clues are a gold ring placed on the girl's finger and an old photograph, left where she died. Then another teenager is murdered, and things become further complicated when Devlin unearths a link between the recent killings and the disappearance of a prostitute twenty-five years earlier - a case in which he believes one of his own colleagues is implicated. As a thickening snow storm blurs the border between North and South, Devlin finds the distinction between right and wrong, vengeance and justice, and even police-officer and criminal becoming equally unclear. ________________ A dazzling and lyrical debut crime novel, Borderlands marks the beginning of a compelling new series featuring Inspector Benedict Devlin. Praise for Brian McGilloway: 'A clever web of intrigue that deepens and darkens as it twists' Peter James on Gallows Lane 'Some of the very best crime fiction being written today' Lee Child on Bad Blood
Major League Baseball claims it hasn't had a game fixed by gamblers since 1919. No points have been shaved in the NBA since 1954. And the NFL states no game of theirs has come under outside influence – ever. These, however, are lies. The proof resides in FBI files only recently uncovered and discussed in Larceny Games.
In 1996, a groundbreaking television drama debuted on the Fox network. Created by Chris Carter, Millennium tells the story of Frank Black (Lance Henriksen), a legendary forensic profiler gifted with the ability to see into the minds of killers. Through his work as a consultant with the F.B.I. and the mysterious Millennium Group, the series offers a thoughtful exploration of the nature and manifestations of evil in the modern world. Back to Frank Black offers an unprecedented volume of material exploring this landmark series. With forewords from Lance Henriksen and Frank Spotnitz and an introduction by series creator Chris Carter, the collection features interviews with cast and crew as well as in-depth essays analyzing Millennium's characters, themes, and enduring legacy. Inspired by the growing movement to return this iconic hero to the screen, Back to Frank Black finds its focus in an incomparable figure of hope: Frank Black. We need him now more than ever.
What makes someone an evil person? How are evil people different from merely bad people? Do evil people really exist? Can we make sense of evil people if we mythologize them? Do evil people take pleasure in the suffering of others? Can evil people be redeemed? Peter Brian Barry answers these questions by examining a wide range of works from renowned authors, including works of literature by Kazuo Ishiguro, Mark Twain, Edgar Allan Poe, Herman Melville, and Oscar Wilde alongside classic works of philosophy by Nietzsche and Aristotle. By considering great texts from literature and philosophy, Barry examines whether evil is merely a fiction. The Fiction of Evil explores how the study of literature can contribute to the study of metaphysics and ethics and it is essential reading for those studying the concept of evil or philosophy of literature at undergraduate level.
Korea’s Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, film policy, and filmmaking from 1893 to 1948. During this time, Korean filmmakers seized every opportunity to learn production techniques and practice their skills, contributing to the growth of a national cinema despite the conditions produced by their occupation by colonial and military powers. At the same time, Korea served as an important territory for the global expansion of the American and Japanese film industries, and, after the late 1930s, Koreans functioned as key figures in the co-production of propaganda films that were designed to glorify loyalty to the Japanese Empire. For these reasons, and as a result of the tensions created by divided loyalties, the history of cinema in Korea is a far more dynamic story than simply that of a national cinema struggling to develop its own narrative content and aesthetics under colonial conditions.
Drawing on classical sociological writing on secrecy by Simmel, Merton and Shils Secrecy and Science draws on recently declassified documents to investigate significant episodes in the history of biological and chemical warfare. At the same time, it draws on more contemporary perspectives in science and technology studies that understand knowledge and social order as co-produced within heterogeneous networks of 'things and people' in order to develop a theoretical set of arguments about how the relationship between secrecy and science might be understood.
The modern-day suburb began, and began booming, in 19th-century Britain. As suburbia spread, the New Woman arose and fin-de-siecle concerns grew, suburban men felt more besieged. Anxieties about hygiene, pollution, purity, the home, class, gender roles, patrilineal power and the state of the Empire rippled through British fiction. The new man of the house was trying, often desperately, to hold onto the old order, changing even more rapidly as the 20th century and modernist fiction arrived. This study traces suburban masculinities in popular genres--speculative fiction, comic fiction and detective fiction--and in literary works from the late-Victorian era to the start of the First World War.
The contemporary US legal culture is marked by ubiquitous battles among various groups attempting to seize control of the law and wield it against others in pursuit of their particular agenda. This battle takes place in administrative, legislative, and judicial arenas at both the state and federal levels. This book identifies the underlying source of these battles in the spread of the instrumental view of law - the idea that law is purely a means to an end - in a context of sharp disagreement over the social good. It traces the rise of the instrumental view of law in the course of the past two centuries, then demonstrates the pervasiveness of this view of law and its implications within the contemporary legal culture, and ends by showing the various ways in which seeing law in purely instrumental terms threatens to corrode the rule of law.
NEW YORK TIMES BESTSELLER • For the first time ever—a comprehensive biography of one of the twentieth century’s most innovative creative artists: the incomparable, irreplaceable Jim Henson He was a gentle dreamer whose genial bearded visage was recognized around the world, but most people got to know him only through the iconic characters born of his fertile imagination: Kermit the Frog, Bert and Ernie, Miss Piggy, Big Bird. The Muppets made Jim Henson a household name, but they were just part of his remarkable story. This extraordinary biography—written with the generous cooperation of the Henson family—covers the full arc of Henson’s all-too-brief life: from his childhood in Leland, Mississippi, through the years of burgeoning fame in America, to the decade of international celebrity that preceded his untimely death at age fifty-three. Drawing on hundreds of hours of new interviews with Henson's family, friends, and closest collaborators, as well as unprecedented access to private family and company archives, Brian Jay Jones explores the creation of the Muppets, Henson’s contributions to Sesame Street and Saturday Night Live, and his nearly ten-year campaign to bring The Muppet Show to television. Jones provides the imaginative context for Henson’s non-Muppet projects, including the richly imagined worlds of The Dark Crystal and Labyrinth—as well as fascinating misfires like Henson’s dream of opening an inflatable psychedelic nightclub. An uncommonly intimate portrait, Jim Henson captures all the facets of this American original: the master craftsman who revolutionized the presentation of puppets on television, the savvy businessman whose dealmaking prowess won him a reputation as “the new Walt Disney,” and the creative team leader whose collaborative ethos earned him the undying loyalty of everyone who worked for him. Here also is insight into Henson’s intensely private personal life: his Christian Science upbringing, his love of fast cars and expensive art, and his weakness for women. Though an optimist by nature, Henson was haunted by the notion that he would not have time to do all the things he wanted to do in life—a fear that his heartbreaking final hours would prove all too well founded. An up-close look at the charmed life of a legend, Jim Henson gives the full measure to a man whose joyful genius transcended age, language, geography, and culture—and continues to beguile audiences worldwide. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY BOOKPAGE “Jim Henson vibrantly delves into the magnificent man and his Muppet methods: It’s an absolute must-read!”—Neil Patrick Harris “An exhaustive work that is never exhausting, a credit both to Jones’s brisk style and to Henson’s exceptional life.”—The New York Times “[A] sweeping portrait that is a mix of humor, mirth and poignancy.”—Washington Independent Review of Books “A meticulously researched tome chock-full of gems about the Muppets and the most thorough portrait of their creator ever crafted.”—Associated Press
A journey to 500 public parks and points of access along the Lake Michigan shore, this guide is a must for the beach lover, hiker, kayaker, boater, fisher, skier or camper looking to explore this shore. Arranged geographically from the Indiana border to the Straits of Mackinac, each site is pinpointed with maps; most sites have GPS descriptions. Charts tell the important features at each place. Quickly find lighthouses, dunes or a beach of solitude!
Diemert traces Greene's adaptation of nineteenth-century romance thrillers and classical detective stories into modern political thrillers as a means of presenting serious concerns in an engaging fashion. He argues that Greene's popular thrillers were in part a reaction to the high modernism of writers such as James Joyce, Gertrude Stein, and Virginia Woolf, whose esoteric experiments with language were disengaged from immediate social concerns and inaccessible to a large segment of the reading public. Graham Greene's Thrillers and the 1930s investigates some of Greene's best-known works, such as A Gun for Sale, Brighton Rock, and The Ministry of Fear, and shows how they reflect the evolution of Greene's sense of the importance of popular culture in the 1930s.
Through its previous seven editions, Examples & Explanations: Bankruptcy and Debtor/Creditor has been popular with students and practitioners for its extraordinarily lucid explanations of complex concepts. In this eighth edition, the coauthors, Brian Blum and Samir Parikh, combine their expertise to enhance the book’s treatment of all salient areas of bankruptcy and debtor-creditor law. Although there are many changes in the eighth edition, it maintains the format and approach of previous editions. The textual discussion of the principles, goals, policies, and legal rules of Bankruptcy and Debtor-Creditor law is clear and accessible. The Examples & Explanations pedagogy gives the reader practice interpreting the Bankruptcy Code and applying the rules and principles to factual situations. This book will help law students master fundamental federal bankruptcy and state debtor-creditor concepts and rules, which will help them succeed in upper-level bankruptcy/debtor-creditor courses; and it will also give them a leg up when they encounter bankruptcy in other areas, such as family law, taxation, real estate, business organizations, secured transactions, torts, and others. New to the 8th Edition: New problems addressing current bankruptcy issues, including mass tort bankruptcies like Purdue Pharma and Boy Scouts of America.? New cases throughout and discussion of recent developments in the law, including unique insights into 363 assets sales, fraudulent transfer law, 524(g), small business bankruptcy under Subchapter V, and dischargeability of student loan debt. New overview sections in each chapter, designed to provide a summary of the Bankruptcy Code sections covered. Rewriting of text to enhance clarity, add hypotheticals, and integrate the discussion of?new topics. Professors and students will benefit from: Examples & Explanations are designed to highlight fundamental issues covered in the textual part of the chapter and to allow students to self-test on topics discussed in the text. The Examples set out a factual scenarios which are resolved in the Explanation, with reference back to the textual material. Topics have been arranged within each chapter to allow students to see the interactions between different Code sections, and to move from basic to more complex topics. Each chapter contains cross references to material in other chapters to enable students to link themes in various chapters and to see how the topics fit together to form a comprehensive system. The text is clearly written to be accessible to students, and covers rules and concepts in the depth and breadth that is likely to be required of students in the bankruptcy/debtor-creditor course. One-of-a-kind flowcharts and diagrams aid in understanding by the visual representation of concepts, processes, and relationships. The extensive glossary at the end of the book gives students a ready explanation of the meaning of the many terms of art that they may encounter in this area, both in the book and in other materials.
The Supreme Court is seen today as the ultimate arbiter of the Constitution. Once the Court has spoken, it is the duty of the citizens and their elected officials to abide by its decisions. But the conception of the Supreme Court as the final interpreter of constitutional law took hold only relatively recently. Drawing on the pragmatic ideals characterized by Charles Sanders Peirce, John Dewey, Charles Sabel, and Richard Posner. Brian E. Butler shows how this conception is inherently problematic for a healthy democracy. Butler offers an alternative democratic conception of constitutional law, “democratic experimentalism,” and applies it in a thorough reconstruction of Supreme Court cases across the centuries, such as Brown v. Board of Education, Citizens United v. Federal Election Commission, Lucas v. South Carolina Coastal Council, and Lochner v. New York. In contrast to the traditional tools and conceptions of legal analysis that see the law as a formally unique and separate type of practice, democratic experimentalism combines democratic aims and experimental practice. Butler also suggests other directions jurisprudential roles could take: for example, adjudication could be performed by primary stakeholders with better information. Ultimately, Butler argues persuasively for a move away from the current absolute centrality of courts toward a system of justice that emphasizes local rule and democratic choice.
A survey of the interaction between science and Anglo-American literature from the late medieval period to the 20th century, examining how authors, thinkers, and philosophers have viewed science in literary texts, and used science as a window to the future. Spanning six centuries, this survey of the interplay between science and literature in the West begins with Chaucer's Treatise on the Astrolabe and includes commentary on key trends in contemporary literature. Beginning with the birth of science fiction, the authors examine the works of H. G. Wells and Jules Verne as well as Mary Shelley's Frankenstein within the context of a wider analysis of the impact of major historical developments like the Renaissance, the scientific revolution, the Enlightenment, and Romanticism. The book balances readings of literature with explanations of the impact of key scientific ideas. Focusing primarily on British and American literature, the book also takes an informed but accessible approach to the history of science, with seminal scientific works discussed in a critical rather than overly theoretical manner.
The Terrifying Story of the Most Monstrous Serial Killers through History. Serial Killers are the most notorious and disturbing of all criminals, representing the very darkest side of humanity. Yet they endlessy fascinate and continue to capture the public's attention with their strange charisma and deadly deeds. From Jack the Ripper to Ted Bundy and the Moors Murderers Ian Brady and Myra Hindley, these killers transfix us with their ability to commit utterly savage acts of cruelty and depravity. Only with modern police detection methods and psychological profiling, have these figures that have existed throughout human history finally been identified in the deadliest category: serial killers. These methods, the killers' characters and their crimes are described here in fascinating and terrifyingly gripping detail. The whole history of serial killers is brought to life in 50 chapters, including: Herman Webster Mudget, Devil in the White City John Christie, 10 Rillington Place murders Zodiac Killer Ian Brady and Myra Hindley, The Moors Murderers Ted Bundy Fred and Rosemary West Jeffrey Dahmer Aileen Wuornos Harold Shipman, Dr Death
Authors William R. Cupach and Brian H. Spitzberg synthesize the expanding multidisciplinary base of knowledge about obsessive relational intrusion (ORI) and stalking, presenting a comprehensive scholarly consideration of these behaviors. Their inclusive approach is reflected in the breadth of research represented, including social, clinical and forensic psychology, psychiatry, counseling, communication, criminal justice, law enforcement, sociology, social work, threat assessment and management, and family studies. The work also draws upon the multidisciplinary scholarship on social and personal relationships. The chapters in this volume: *provide historical and definitional frames for studying unwanted relationship pursuit, and consider the role of such sources as the media, law, and social science research in shaping the contemporary multifaceted and multifarious conceptualizations of stalking; *elaborate the authors' assumption that much unwanted relationship pursuit owes to complications inherent in the processes of constructing and dismantling relationships, examine the factors that conspire to create slippage between two persons' conceptions of their "shared" relationship, and explore the cultural practices associated with relationship dissolution that tend to reinforce persistence in unwanted pursuit; *chart the topography of unwanted pursuit, offering a unique and comprehensive synthesis of relevant research bearing on several issues, and a review of the temporal stages and characteristics of stalking; *consider promising theories and variables for explaining the occurrence of unwanted pursuit; and *discuss the issues pertinent to threat assessment, managing unwanted pursuit and offering a comprehensive typology of victim consequences of pursuit. The volume concludes with thoughts about "correcting courtship." Drawing on the interpersonal competence literature, Cupach and Spitzberg speculate on ways in which enhancing relationship management skills could help diminish the incidence and debilitating consequences of ORI and stalking. With this work, the authors provide a clearer picture of the current state of knowledge about stalking, and in so doing, identify productive paths for scholarly inquiry and ultimately bolster the effectiveness of prevention and intervention efforts. The volume is destined to promote and publicize the multidisciplinary nature of stalking research such that cross-fertilization of interested fields might yield new and better insights. It will be required reading for the cross-disciplinary community of academics and professionals who are committed to understanding and responding to unwanted relationship pursuit and stalking.
Brian W. Fairbanks, Entertainment Editor at Paris Woman Journal in Paris, France, "has a talent for extracting the essence of a given subject and articulating it in a meaningful way."In I SAW THAT MOVIE, TOO, he extracts the essence from several hundred films, and articulates some of the most meaningful opinions on the cinema you'll ever read. In the foreword, he also offers a perceptive analysis of the way that movies, more importantly, the way we "see" movies, has changed from the time he was a young movie buff "obsessed by that light in the darkness" to the era of the multiplex and the DVD.As one reader says, he has "a sophisticated yet effortlessly readable style." Smart, insightful, always honest, but never pretentious, Fairbanks is a life-long film buff who backs up his opinions with a knowledge of both the art and artifice of cinema.
Fleeing the mobsters he has double crossed, Harry Fabian runs through a virtual obstacle course of London's back streets and alleys during a night in which the shadows seem to grow darker with his every footstep. The night itself seems to be his stalker, its shadows enveloping him like a closing coffin lid."So begins "The Shadows of Film Noir," Brian W. Fairbanks' perceptive analysis of the genre, one of the highlights of a collection that also includes knowledgable profiles of film giants like John Wayne, Robert Mitchum, Richard Widmark and even Elliott Gould, as well as a memorable lament for the movie palaces that have fallen victim to the multiplex in our fast food styled culture.THE LATE SHOW: WRITINGS ON FILM celebrates the glory days of cinema in witty prose from a writer with a "real talent for extracting the essence of a given subject and articulating it in a meaningful way.
How did beloved movie dogs become man-killers like Cujo and his cinematic pack-mates? For the first time, here is the fascinating history of canines in horror movies and why our best friends were (and are still) painted as malevolent. Stretching back into Classical mythology, treacherous hounds are found only sporadically in art and literature until the appearance of cinema's first horror dog, Sherlock Holmes' Hound of the Baskervilles. The story intensifies through World War II's K-9 Corps to the 1970s animal horror films, which broke social taboos about the "good dog" on screen and deliberately vilified certain breeds--sometimes even fluffy lapdogs. With behind-the-scenes insights from writers, directors, actors, and dog trainers, here are the flickering hounds of silent films through talkies and Technicolor, to the latest computer-generated brutes--the supernatural, rabid, laboratory-made, alien, feral, and trained killers. "Cave Canem (Beware the Dog)"--or as one seminal film warned, "They're not pets anymore.
Brian Leftow offers a theory of the possible and the necessary in which God plays the chief role, and a new sort of argument for God's existence. It has become usual to say that a proposition is possible just in case it is true in some 'possible world' (roughly, some complete history a universe might have) and necessary just if it is true in all. Thus much discussion of possibility and necessity since the 1960s has focussed on the nature and existence (or not) of possible worlds. God and Necessity holds that there are no such things, nor any sort of abstract entity. It assigns the metaphysical 'work' such items usually do to God and events in God's mind, and reduces 'broadly logical' modalities to causal modalities, replacing possible worlds in the semantics of modal logic with God and His mental events. Leftow argues that theists are committed to theist modal theories, and that the merits of a theist modal theory provide an argument for God's existence. Historically, almost all theist modal theories base all necessary truth on God's nature. Leftow disagrees: he argues that necessary truths about possible creatures and kinds of creatures are due ultimately to God's unconstrained imagination and choice. On his theory, it is in no sense part of the nature of God that normal zebras have stripes (if that is a necessary truth). Stripy zebras are simply things God thought up, and they have the nature they do simply because that is how God thought of them. Thus Leftow's essay in metaphysics takes a half-step toward Descartes' view of modal truth, and presents a compelling theist theory of necessity and possibility.
Students of philosophy, psychology, sociology, and literature will welcome this collection of original essays on self-deception and related phenomena such as wishful thinking, bad faith, and false consciousness. The book has six sections, each exploring self-deception and related phenomena from a different perspective.
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